知识的性质

Q3 Arts and Humanities Nordic Journal of Aesthetics Pub Date : 2019-06-21 DOI:10.7146/NJA.V28I57-58.114854
D. Joselit
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引用次数: 0

摘要

我们可以注意到,自1913年杜尚的《自行车轮》以来,现成和挪用的传统有三个阶段。首先,它们包括早期的作品,在这些作品中,现成的作品通过商品和艺术对象的等式对艺术品提出了逻辑上的挑战。第二,现成作品在雕塑、绘画、装置或投影中被语义化为词汇元素的实践。在最直接涵盖全球的第三阶段,对物品、图像和其他形式内容的挪用挑战了对特定文化财产所产生的东西的文化和经济价值的主权,从澳大利亚的土著绘画到20世纪90年代中国对毛个人崇拜的认同。本文从一个世纪以来的历史角度来思考这本书的最新阶段。
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THE PROPERTY OF KNOWLEDGE
We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and other forms of content challenges sovereignty over the cultural and economic value linked to things that emerge from particular cultural properties ranging from Aboriginal painting in Australia to the ap- propriation of Mao’s cult of personality in 1990s China. This essay considers the most recent phase of the readymade in terms of its century-long history.
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
期刊最新文献
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